of the great schools, easily remembered
in this hexagonal form:--

1.
LINE
Early schools.

2. 3.
LINE AND LIGHT. LINE AND COLOUR.
Greek clay. Gothic glass.

4. 5.
MASS AND LIGHT. MASS AND COLOUR.
(Represented by Lionardo, (Represented by Giorgione,
and his schools.) and his schools.)

6.
MASS, LIGHT, AND COLOUR.
(Represented by Titian,
and his schools.)

And I wish you with your own eyes and fingers to trace, and in your own
progress follow, the method of advance exemplified by these great
schools. I wish you to begin by getting command of line, that is to say,
by learning to draw a steady line, limiting with absolute correctness
the form or space you intend it to limit; to proceed by getting command
over flat tints, so that you may be able to fill the spaces you have
enclosed, evenly, either with shade or colour according to the school
you adopt; and finally to obtain the power of adding such fineness of
gradation within the masses, as shall express their roundings, and their
characters of texture.

140. Those who are familiar with the methods of existing schools must be
aware that I thus nearly invert their practice of teaching. Students at
present learn to draw details first, and to colour and mass them
afterwards. I shall endeavour to teach you to arrange broad masses and
colours first; and you shall put the details into them afterwards. I
have several reasons for this audacity, of which you may justly require
me to state the principal ones. The first is that, as I have shown you,
this method I wish you to follow, is the natural one. All great artist
nations _have_ actually learned to work in this way, and I believe it
therefore the right, as the hitherto successful one. Secondly, you will
find it less irksome than the reverse method, and more definite. When a
beginner is set at once to draw details, and make finished studies in
light and shade, no master can correct his innumerable errors, or rescue
him out of his endless difficulties. But in the natural method, he can